Museum Data: CCO and Big CDWA - The Getty & CDWA provide guidance for consistency regarding...

For educational purposes only. Do not distribute.

Patricia Harpring, June 2009 CCO, CDWA, and CDWA Lite for Museums page 1 © 2009 J. Paul Getty Trust

Cataloging in the MuseumCCO, CDWA, and CDWA Lite for

Cataloging Museum Objects

Patricia HarpringManaging Editor, Getty Vocabulary Program

Revised June 2009© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

Museum Data: CCO and Big CDWA

© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.



CCO/CDWA Audience

• CCO is intended for a diverse audience: VR collections, museums, archives, others who catalog cultural heritage

• CCO includes minimum descriptive data used by both museums and VR collections

© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.Images from metmuseum.org

© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.Images from metmuseum.org

• Many (most) issues are the same for museums and VR collections

Display vs. IndexingSubject indexingCreators, unknown creatorsEtc.

CCO/CDWA Audience



• VR collection places more emphasis on cataloging larger numbers of works and works from various repositories


• VR collection needs more discussion re. relationships to and among images

CCO/CDWA Audience

• Museums are typically cataloging fewer works, all from their own collections


• Museums place less emphasis than VR collections on complex relationships between works and images, and between images and other images

CCO/CDWA Audience



• Museums’ whole/part relationships between works are driven by curatorial or conservation requirements, acquisition or loan issues, and storage of works in physical groups


CCO/CDWA Audience


• VR collection’s arrangement of whole/part relationships between works is driven by the users’ need to retrieve

• E.g., if same artist did both the lid and the vessel, why make two separate records?

CCO/CDWA Audience



• Museums place more emphasis on certain details of recording and cataloging

Recording information derived from direct examination of original works, e.g., measuring


• While VR collections are transcribing information from secondary sources

CCO/CDWA Audience

• No administrative data in CCONo Provenance, Conservation History, Exhibition History, etc.For these, see big CDWA


CCO/CDWA Audience




Adding a work type or object name is a common practice when registrars create new object records in a system, for the primary reason stated in CCO: to “identify the kind of work or works being described” and to “establish the logical focus of the catalog record” (CCO, p. 48).

CCO provides prescriptive rules on the core set of descriptive data

Example: Work Type

Registrar has traditionally applied standards and rules: local or based on CDWA

CCO & CDWA provide guidance for consistency regarding Curatorial Scholarship, which is a primary activity of museums




Whereas registrars are responsible for documentation and cataloging, collection information professionals are responsiblefor managing, preserving, and often for disseminating, this information. Additionally, they play a crucial role in ensuring that access to information about works of art is accomplished in an accurate, standards-compliant, consistent way.


Collection Information Professionals: The Keepers and Protectors of All Collection Data

Ideally record the data once, and repurpose it for record keeping, hardcopy publications, online presentations of information

Issues for Museums in CCO/CDWA

• Issues are sometimes related to significant differences between CCO/CDWA and local practice

• Local practice may be less than ideal, may be driven by technical limitations


• But often differences are reconcilable, simply a question of parsing existing data in CCO/CDWA-compliant form rather than editing the existing data



CCO compliant: Current Location: J. Paul Getty Museum (Los Angeles, California, USA) ID:90.PA.20

Name of repositoryRequired in CCO/CDWANot necessary as a separate field in your local system (unless you have two sites)Construct the value when you port data in CCO/ CDWA-compliant form


Local preference for names of “unknowns”

CCO/CDWA compliant:

Creator display: unknown ParisianCreator display: unknown Parisian 15th century

Museum may port data into CCO/CDWA-compliant form by programming algorithmsAlso, keep in mind that such issues are superficial; the more important issues re. compliance concern which data you store in which fields, etc.Record data once, port it to multiple formats as necessary

Creating CCO/CDWA compliant data from existing data




Local preference for names of “unknowns”

CCO preference: unknown Italian

Museum may port data into CCO-compliant form by programming algorithmsAlso, keep in mind that such issues are superficial; the more important issues re. compliance concern which data you store in which fields, etc.Record data once, port it to multiple formats as necessary

Unknown created from culture field


MeasurementsInstructions re. how to measureHow to display and index

•Suggested fields and rules in CCO but expanded version in CDWA




Museum must have rules for measuring the work, left and bottom for rectangles, largest dimensions for irregular shapes, diameter for circular objects, circumference of vessels, how to take “sight measurements,”measure plate and sheet, how to round numerical values, etc.Covered by CCO, expanded in big CDWAVR collection is generally transcribing informationCCO and CDWA also explain how to express dimensions in a work record, which is applicable to both VR colls. and Museums After Sir Anthony Van Dyck (Flemish 1599- 1641), By Thomas Sabaudus. Christie's Sales online. Works of Art from the

Collection of S.A.R. La Principessa Reale Maria Gabriella Di Savoia. Sale 7526. 27 Jun 2009. London, King Street


CCO preference:

Measurements display: 33.5 (height) x 12.5 cm (diameter at shoulders) (13 3/16 x 4 15/16 inches)Value: 33.5 Unit: cm Type: heightExtent: shouldersValue: 12.5 Unit: cm Type: diameter

Creating CCO/CDWA compliant data from existing data




Record once, publish many timesCreating print and online versions of the data


Record once, publish many timesCreating print and online versions of the data




See CDWA also

• Users can look to big CDWA for additional information in categories covered in CCO

©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

• Users can also look to big CDWA for further categories not covered in CCO because they are not descriptive data or not considered “core” for CCO

• E.g., Provenance, Conservation history, Context

• CDWA includes definition, discussion, rules for form and syntax, lists of terminology, and examples for each field

Transcription or DescriptionType AuthorLocationTypeface/LetterformDate

Earliest DateLatest Date

RemarksCitations

Page

CCO has only minimal info re inscriptionsCovered more thoroughly in big CDWA




Inscriptions/Marks - Type

DEFINITION

The kind of inscription, stamp, mark, or text written on or applied to the work.

DISCUSSION and GUIDELINESOptional: Record a term indicating if there is an inscription and what kind of inscription it is.

Form and syntaxRecord terms in lower case. If this subcategory is used, it is a priority to note the presence or absence of inscriptions (e.g., inscribed or not inscribed). It is recommended to also record the specific type(s) of inscriptions or marks, particularly signatures and dates. An inscription may be of more than one type, as for example, when a work is both signed and dated.

E.g., rules and values to index the inscription type


Inscription/Mark: signed lower left: G. Belloni / PARIGI; dated verso, in an unknown later hand: gen.1890

Type: signedAuthor: Belloni, Giorgio (Italian painter, 1861-1944)Location: lower left

Type: dated Author: unknown later hand Typeface/ Letterform: open lettersDate: ca. 1950 Earliest Date: 1948 Latest Date: 1952

Example of Inscription with indexing fields





DescriptionTransfer ModeCost or ValueLegal StatusOwner/Agent

RolePlaceDate


Owner's NumbersNumber Type

Credit LineRemarksCitations

Page

Provenance not covered in CCOOf great importance

to museums

Ownership/Collecting History – Description

DEFINITIONThe prose description of the provenance or history of the owners or others in possession of a work of art or architecture, or a group.

DISCUSSION and GUIDELINES

Optional: Record the work's successive owners (or those who had possession of the work), from the first owner to the present, if known. The names of ancillary individuals or firms (agents, dealers, auction houses, consignees) which, while not technically owners, played a role in the transfer of the object from one owner to another, may also be included. Include notes on the relationship of one owner to another if this elucidates the chain of ownership. Indicate if information about the provenance or ownership of a work is speculative or uncertain.

Form and syntaxList the owners in chronological order, from the earliest known owner until the present. Include the following information if known for each Owner/Agent: the dates of their ownership, the names of the owners, the location where the object was located, and the means by which the work passed from one owner to another. Include the life dates of

CDWA Guidelines are informed by the suggestions in the AAM Guide to Provenance ResearchIncludes rules for prose description

Image: Bacock Galleries online© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.



Ownership/Collecting History - Transfer Mode

DEFINITIONThe means by which a work entered the collection of a particularindividual or corporate body.

EXAMPLES

commissioncollection of artistoriginal ownerbequestgiftpurchaseexchangetheftconfiscated transfer

DISCUSSION and GUIDELINESOptional: Record a term or terms describing the method of transfer between one owner and the other. Use lower case.

Also includes indexing fields and terms for transfer mode, etc.

field collectedlong-term loanloststolendestroyedauctionlootedleasedrented unknown


Ownership/Collecting History: 1924, sold 21 October 1924 by the artist to (Galerie Bernheim-Jeune, Paris, France); from 1924, sold 24 October 1924 to Georges Bernheim (Paris, France); sold to Paul Rosenberg (Paris, France); sold to (Pierre Matisse Gallery, New York, New York, USA); 1951, sold 1951 to (Paul Rosenberg and Co., New York, New York, USA); Alexandre Rosenberg (New York, New York, USA); ca.1977, sold to (Eugene Victor Thaw and Co., New York, New York, USA); 1978-1985, sold January 1978 to Mr. and Mrs. Paul Mellon (Upperville, Virginia, USA); 1985-present, gift 1985 to National Gallery of Art (Washington, DC, USA).

1. Date: 1924 Earliest: 1924 Latest: 1924 Transfer Mode: collection of artist Owner/Agent: Matisse, Henri Role: artist Place: Paris (France)2. Date: 21 October 1924 Earliest: 1924-10-21 Latest: 1924-10-21 Transfer Mode: purchaseOwner/Agent: Galerie Bernheim-Jeune Role: dealer Place: Paris (France)3. Date: from 24 October 1924 Earliest: 1924-10-24Latest: 1924-10-24 Transfer Mode: purchaseOwner/Agent: Bernheim, Georges Role: owner Place: Paris (France)4. Transfer Mode: purchase Owner/Agent:Rosenberg, Paul Role: owner Place: Paris (France)5. Transfer Mode: purchase Owner/Agent: Pierre Matisse Gallery Role: dealer Place: New York (New York, USA)6. Date: 1951 Earliest: 1951 Latest: 1951 Transfer Mode: purchase Owner/Agent: Paul Rosenberg and Co. Role: dealer Place: New York (New York, USA)©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

Example of provenance

Henri Matisse; Pianist and Checker Players, 1924; oil on canvas, 73.7 x 92.4 cm (29 x 36 3/8 inches); Collection of Mr. and Mrs. Paul Mellon. National Gallery of Art, Washington, DC; 1985.64.25



DescriptionTypeAgentDate


PlaceRemarksCitations

Page

Condition description and indexing fields

• Condition is important to museums

• May not be displayed to end users


• Conservation info is important to museums

• May be hidden from end users

TreatmentMount cleaned with vinyl eraser crumbs.




DescriptionTypeAgentDate


PlaceRemarksCitations

Page

• Conservation info is included in CDWA

• Description and indexing fields


inpaintingrepaintingrestorationreliningpreservationcleaningrepairwashingmountingconsolidationstabilizing

• E.g., rules and terminology for treatment type




• Example of conservation description with indexing fields


EventsEvent IdentificationDate


PlaceAgent

RoleCost or Value

Architectural ContextBuilding/SitePart/PlacementDate


Four areas of context covered thoroughly in big CDWA:Events, archaeological context, architectural context, historical locations

Archaeological ContextDiscovery/Excavation PlaceExcavation Site SectorExcavatorDiscovery/Excavation Date


Historical LocationDate


RemarksCitations

Page© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.



Archaeological Context: Found in situ with other Mississippian artifacts.Discovery/Excavation Place: Angel Mounds State Historic Site (Evansville, Indiana)Excavation Site/Sector: B2-3456Excavator: Glenn A. Black Laboratory of Archaeology, Indiana University (Bloomington, Indiana)Discovery/Excavation Date: 15 June 1974

Example of Archaeological Context

images from Glenn A. Black Laboratory of Archaeology online

Example is for illustration purposes only. Data is not necessarily accurate.


DescriptionExhibition Title or NameTypeCurator OrganizerSponsorVenue

Name/Place Date


Object NumberNumber Type

Object/Work Label/IdentificationRemarksCitations

PagePortrait of Indigenous Men, Lorenzo Becerril (1837-1904); albumen print, ca. 1890-1900; Getty Research Institute, 99.R.17

• Loan and exhibition history is tracked by museums and covered in CDWA

image from csuchico.edu



Portrait of Indigenous Men, Lorenzo Becerril (1837-1904); albumen print, ca. 1890-1900; Getty Research Institute, 99.R.17

Example of Exhibition History

Cataloging InstitutionCataloger NameActionArea of Record AffectedDate


Remarks

image from https://npado.org

CDWA even includes fields for the cataloging history of the work record




Librarians will use AACR and MARC for bibliographical referencesCDWA includes categories for museums and others who do not use library rulesNot incompatible with AACR, but more friendly to museums/scholars, e.g., BHA records


Warrior, Jerome Bushyhead, Acrylic Paints, image: http://www.artnatam.com/bhead/n-jb008.html

• Copyright considered administrative, not descriptive

• Therefore not covered in CCO• CDWA deals with copyright and other

protection of the work itself• And also with rights concerning the

image of that work

images from Brown University and MIT online



Warrior, Jerome Bushyhead, Acrylic Paints, image: http://www.artnatam.com/bhead/n-jb008.html Other images from National Gallery of Art Washington online.

Examples of CDWA copyright information for a work

• Copyright of the image discussed in Related Visual Documentation

image from www.cofa.unsw.edu.au© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.



image from www.cofa.unsw.edu.au

• Images: Covered by VRA Core, this section of CDWA maps to VRA Core

• But with extensive cataloging rules here in CDWA,

• Maybe friendlier for Museums


Categories for the Description of Works of ArtCategories for the Description of Works of Art512 subcategories, 31 categories

Object/WorkClassificationTitles or NamesCreationStyles/Periods/Movements MeasurementsMaterials and TechniquesInscriptions/MarksStateEditionFactureOrientation/ArrangementPhysical DescriptionCondition/Examination HistoryConservation/Treatment HistorySubject Matter

ContextDescriptive Note Critical ResponsesRelated WorksCurrent LocationCopyright/RestrictionsOwnership/Collecting HistoryExhibition/Loan HistoryCataloging History Related Visual DocumentationRelated Textual ReferencesPerson/Corporate Body AuthorityPlace/Location AuthorityGeneric Concept AuthoritySubject Authority

http://www.getty.edu/research/conducting_research/standards/cdwa


• Core categories covered in CCO• CDWA generally has additional

fields where there is overlap• Somewhat less extensive rules

where there is overlap• CDWA has additional categories




Sharing Data: CDWA Lite


http://www.getty.edu/research/conducting_research/standards/cdwa/cdwalite.html

• Based on the required fields, structure, guidelines discussed in CDWA

• Informed by the cataloging rules in CCO



CDWA Lite: Origins

• CDWA Lite, an XML schema to describe core records for works of art and material culture, intended for contribution to union catalogs and other repositories using the Open Archives Initiative (OAI) harvesting protocol


The Need: A data content standard specifically designed for unique cultural works, and a technical format for expressing this data in a machine-readable format.

The Goals:• To reduce overhead for contributing to

union catalogs/service providers

• To reduce labor and “delivery” costs

• To ensure a mechanism for updating data

• To include links from contributed metadata back to records in their “home” context


CDWA Lite: Origins



The Players

XML schema developers (Getty & ARTstor)Data provider/contributor (in this case, the Getty Museum and Getty Research Institute)Service provider/content aggregator (in this case, ARTstor)“Internal service provider” (in this case, Getty Web Group, Getty Research Institute information systems department)


CDWA Lite

© 2009 J. Paul Getty TrustSlide: Patricia Harpring

Categories for the Description of Works of ArtCategories for the Description of Works of Art

2009 ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

http://www.getty.edu/research/conducting_research/standards/cdwahttp://www.getty.edu/research/conducting_research/standards/cdwa//

Published in 1996Art Information Task Force (AITF)J. Paul Getty TrustCollege Art Association (CAA)



CDWACDWA

Art Information Task Force (AITF) included art historians, museum professionals, visual resource professionals, archivists, and librarians

Consensus on categories of information for describing works of art, architecture, and other material culture

For communities that use and create art information

© J. Paul Getty Trust

http://www.getty.edu/research/conducting_research/standards/cdwahttp://www.getty.edu/research/conducting_research/standards/cdwa//

visual “surrogates” of works of art and objects

paintingsworks on papersculptureceramicsmetalworkartifactsphotographs

manuscriptsfurnituredecorative arts performance artarchitecturevolumesgroups

photographsslides

digital imagesvideotapes

art works and material culture from all periods and all geographic areas


CDWACDWAhttp://www.getty.edu/research/conducting_research/standards/cdwahttp://www.getty.edu/research/conducting_research/standards/cdwa//



31 Broad CategoriesObject/WorkClassificationOrientation/ArrangementTitles or NamesStateEditionMeasurementsMaterials and TechniquesFacturePhysical DescriptionInscriptions/MarksCondition/Examination HistoryConservation/Treatment HistoryCreationOwnership/Collecting HistoryCopyright/Restrictions

Styles/Periods/MovementsSubject MatterContextExhibition/Loan HistoryRelated WorksRelated Visual DocumentationRelated Textual ReferencesCritical ResponsesCataloging HistoryCurrent LocationDescriptive NotePerson/Corporate Body AuthorityPlace/Location AuthorityGeneric Concept AuthoritySubject Authority


CDWACDWA

• Art, architecture, cultural objects

• CDWA includes discussions, basic guidelines for cataloging, and examples

31 Broad CategoriesObject/WorkClassificationOrientation/ArrangementTitles or NamesStateEditionMeasurementsMaterials and TechniquesFacturePhysical DescriptionInscriptions/MarksCondition/Examination HistoryConservation/Treatment HistoryCreationOwnership/Collecting HistoryCopyright/Restrictions

Styles/Periods/MovementsSubject MatterContextExhibition/Loan HistoryRelated WorksRelated Visual DocumentationRelated Textual ReferencesCritical ResponsesCataloging HistoryCurrent LocationDescriptive NotePerson/Corporate Body AuthorityPlace/Location AuthorityGeneric Concept AuthoritySubject Authority

• Includes over 530 subcategories• Exhaustive for given scope• small subset of categories are

considered core in that they represent the minimum information necessary to identify and describe a work


CDWACDWA



Generic Concept

Identification

Generic Concept

Identification

Subject Identification



CDWA Entity Relationship Diagram

Person/ Corporate Body Authority

Place/Location Authority

Generic Concept Authority

Subject Authority

Related Textual Documentation

Related Visual Documentation

Object/ Work

Records

Entity Relationship Diagram for CDWA

Links includeobject/work to another object/work, groupsrelated “authorities”related images, sources

Data Structure

Generic Concept

Identification

Generic Concept

Identification




CDWA Entity Relationship Diagram




Subject Authority

Object/ Work

Records


Data StructureRelated Visual Documentation

CCO entity relationship diagram is the same as CDWA




Generic Concept

Identification

Generic Concept

Identification




CCO Entity Relationship Diagram




Subject Authority

Sources

Object/ Work

Records


Related Visual Documentation

Data Structure


CCO entity relationship diagram is the same as CDWA

Chapter 1: Object NamingWork Type / Title

Chapter 2: Creator Information Creator / Creator Role

Chapter 3: Physical CharacteristicsMeasurements / Materials and Techniques /State and Edition/ Additional Physical Characteristics

Chapter 4: Stylistic and Chronological Information

Style / Culture / DateChapter 5: Location and Geography

Current Location / Creation Location / Discovery Location/ Former Location


Chapter 6: SubjectSubject

Chapter 7: Class Class

Chapter 8: DescriptionDescription / Other Descriptive Notes

Chapter 9. View Information View Description / View Type / View Subject / View Date

Authority 1: Personal and Corporate Name AuthorityAuthority 2: Geographic Place AuthorityAuthority 3: Concept AuthorityAuthority 4: Subject Authority

CCO Elements (categories of data)

• CCO is more prescriptive than CDWA• Less comprehensive with 116 elements vs.

385 subcategories• Based on the CDWA core and the VRA Core

Categories• Published by ALA



http://www.getty.edu/research/conducting_research/standards/intrometadata/index.html

The CDWA and CCO map to other standardsMetadata Standards Crosswalk

Mapping data categories/elements


http://www.getty.edu/research/conducting_research/standards/intrometadata/index.html



CDWA CCO CDWA Lite

OBJECT/ WORK (core) . .

Object/ Work - Catalog Level

Record Type

.

Object/Work-Type (core)

Work Type cdwalite:objectWorkType

CDWA/CCO required categories were mapped to an XML schema = CDWA Lite



THE PROCESS: A simple diagram of how the CDWA Lite metadata records as well as the digital images were

harvested by ARTstor.


What Is Harvesting?

Harvesting is the process of collecting metadata records from different repositories and presenting it in a “union” environmentThe innovation in this project: images as well as metadata are harvested




What Is Harvesting?

Harvesting is the process of collecting metadata records from different repositories and presenting it in a “union” environmentThe innovation in this project: images as well as metadata are harvested

Defines a mechanism for harvesting records containing metadata from repositories, based on the open standards HTTP (Hypertext Transport Protocol) and XML (Extensible Markup Language).

OAI-Protocol for Metadata Harvesting (OAI-PMH)



• ARTstor records for Getty Museum object (from UC San Diego Slide Library catalogue)

• Two different records, images for the same work



Standard “CDWA Lite” record exported from museum collection management system, “harvested” along with images from getty.eduWeb site


Why start with a new standard?OAI-PMH has traditionally relied upon Dublin Core as the descriptive metadata element set to use for the harvesting protocol

DC is not designed, nor is it particularly effective in helping to represent works from the cultural heritage community

• CDWA-Lite: A New XML Schema for the Cultural Heritage CommunityData Content Standard = Cataloging Cultural Objects(CCO)

Data Structure Standard = Categories for the Description of Works of Art (CDWA)

Data Format Standard (technical expression) = CDWA Lite XML Schema




ObjectivesThe Getty and ARTstor wanted to develop a replicable, standards-based way for institutions to contribute data and images relating to cultural heritage collections to union catalogs like ARTstor’s Image Gallery (and OCLC’s WorldCat, RLG’s Cultural materials, etc.)To ensure dissemination of authoritative, up-to-date information on collectionsTo facilitate open access to

collections information


Objectives (continued)Develop a data dictionary (spec.) & related XML schema suited to representing cultural objects, based on appropriate data structure (CDWA) & data content (CCO) standards Reduce overhead for contributing to union catalogs/service providers: do it once, do it right, share it with everybody Reduce labor and “delivery” costsEnsure a mechanism for updating dataInclude links from metadata back to records in their “home” context






What is XML? "Extensible Markup Language" was developed by the World Wide Web Consortium (WC3) to provide rules for a structure and semantics for information exchange that would allow information to be encoded in a way that computers could understand and humans could read.

Uses tags in a structure to identify the data.

• CDWA/CCO required categories mapped to XML schema = CDWA Lite




• CDWA/CCO required categories mapped to XML schema = CDWA Lite

Tag in angled brackets = <cdwalite:objectWorkType>data (here blue) painting end of data indicated with slash and repeat the tag name </cdwalite:objectWorkType>

<cdwalite:objectWorkType>painting</cdwalite:objectWorkType>

May add attributes, e.g., source of the term = termsourceplace this inside the tag, distinguishing it from data

<cdwalite:objectWorkType termsource="AAT">painting </cdwalite:objectWorkType>

May nest tags inside each other, forming the structure

<cdwalite:objectWorkTypeWrap><cdwalite:objectWorkType termsource="AAT">painting </cdwalite:objectWorkType> <cdwalite:objectWorkTypetermsource="AAT">altarpiece</cdwalite:objectWorkType>

</cdwalite:objectWorkTypeWrap>©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.



DESCRIPTIVE METADATA

1. Element: Object/Work Type Wrapper

1.1. Sub-element: Object/Work Type

2. Element: Title Wrapper

2.1. Sub-element: Title Set

2.1.1. Sub-element: Title

2.1.2. Sub-element: Source of Title

3. Element: Display Creator

Etc.

CDWA Lite is divided into descriptive metadata for the work,and administrative metadata

CDWA LITE ELEMENTS










Etc.

ADMINISTRATIVE and RESOURCE METADATA

20. Element: Rights for Work

21. Element: Record Wrapper

21.1. Sub-element: Record ID

21.2. Sub-element: Record Type

21.3. Sub-element: Record Source

Etc.

CDWA LITE ELEMENTS

Administrative metadata, e.g., copyright, information about the image, etc.












Etc.

CDWA Lite focuses on descriptive data for WorksImages included, but not emphasizedAuthority/controlled vocabulary information is included, but structure of the authorities is not

CDWA LITE ELEMENTS










Etc.CDWA Lite is designed so it could eventually be a subset of a bigger XML schema for the full CDWA Wrappers and Sets organize related elements

CDWA LITE ELEMENTS




CDWA LITE ELEMENTS

4.6. Sub-element: Attribution Qualifier CreatorElement tag: <cdwalite:attributionQualifierCreator>Description: A qualifier used when the attribution is uncertain, is in dispute, when there is more than one creator, when there is a former attribution, or when the attribution otherwise requires explanation.

RepeatableNot requiredData values: attributed to, studio of, workshop of, atelier of, office of, assistant of, associate of, pupil of, follower of, school of, circle of, style of, after, copyist of, manner of, used according to the recommendations in CCO and CDWA.

Users are referred back to CCO and CDWA for cataloging guidance


1.1. Sub-element: Object/Work TypeElement tag: <cdwalite:objectWorkType>Description: A term or terms identifying the specific kind of object or work being described. For a collection, include repeatable instances for terms identifying all of or the most important items in the collection.

Attributes: termsource, termsourceIDRepeatableRequiredData values: Controlled. Recommended AAT

Tagging examples:

<cdwalite:objectWorkTypeWrap><cdwalite:objectWorkType>rhyton</cdwalite:objectWorkType> </cdwalite:objectWorkTypeWrap>

<cdwalite:objectWorkTypeWrap><cdwalite:objectWorkType termsource="AAT">painting

The description, attributes, whether or not it is repeatable or required, how it is to be controlled are all based on CDWA and CCO




User is referred back to CDWA and CCOFree text display fields, syntax and other rules are recommended, but vocabulary not controlled

image credits: see slide #142

Vocabulary control in CDWA Lite

Data values: Formulated according to data content rules for the Description element in CCO and CDWA.




User is referred back to CDWA and CCOFree text display fields, syntax and other rules are recommended, but vocabulary not controlledFormat control

Data values for value: whole numbers or decimal fractions.




User is referred back to CDWA and CCOFree text display fields, syntax and other rules are recommended, but vocabulary not controlledFormat controlControlled lists for short lists of vocabulary



Data values: attributed to, studio of, workshop of, atelier of, office of, assistant of, associate of, pupil of, follower of, school of, circle of, style of, after, copyist of, manner of, used according to the recommendations in CCO and CDWA.



User is referred back to CDWA and CCOFree text display fieldsFormat controlControlled lists Authorities: Local authorities should be populated with terms/names from published vocabularies (e.g., AAT) as well as local terminology; authorities would include synonyms and hierarchical structure





CDWA LITE ELEMENTS

7. <cdwalite:displayMaterialsTech>lacquered iron and leather, with silk, and copper-gilt; stenciled leather breastplate</cdwalite:displayMaterialsTech>

Display and indexing guidelines in CCO and CDWA are carried through to CDWA Lite

Image from www.metmuseum.org

8.1. <cdwalite:indexingMaterialsTechWrap><cdwalite:indexingMaterialsTechSet> <cdwalite:extentMaterialsTech>breastplate </cdwalite:extentMaterialsTech> <cdwalite:termMaterialsTechtermsource="AAT" termsourceID="aat300011845">leather </cdwalite:termMaterialsTech> <cdwalite:termMaterialsTechtermsource="AAT" termsourceID="aat300053433"> lacquering </cdwalite:termMaterialsTech>

</cdwalite:indexingMaterialsTechSet> <cdwalite:indexingMaterialsTechSet>


CDWA LITE ELEMENTS

4.1. <cdwalite:indexingCreatorWrap> <cdwalite:indexingCreatorSet>

<cdwalite:nameCreatorSet> <cdwalite:nameCreatortype="personalName" termsource="ULAN" termsourceID=" ulan500007371">Tacca, Pietro</cdwalite:nameCreator> </cdwalite:nameCreatorSet><cdwalite:sourceNameCreator> Grove Dictionary of Art

(1996) </cdwalite:sourceNameCreator><cdwalite:nationalityCreator>Italian</cdwalite:nationalityCreator><cdwalite:vitalDatesCreator birthdate="1577-09-06" deathdate="1640-10-26"> 1577-1640 </cdwalite:vitalDatesCreator> <cdwalite:genderCreator> male </cdwalite:genderCreator> <cdwalite:roleCreatortermsource="AAT" termsourceID="aat300025257">caster </cdwalite:roleCreator>

d li ib i lifi ib dImage from collections.frick.org

Some biographical data for the artist is includedMay be stored in an authority

(Person/Corporate Body Authority)




19. Related Works<cdwalite:relatedWorksWrap> <cdwalite:relatedWorkSet> <cdwalite:relatedWorkRelType> preparatory for</cdwalite:relatedWorkRelType>

<cdwalite:labelRelatedWork> Giovanni Battista de’ Cavalieri (Italian, ca. 1525-1601); Urbis Romae aedificiorum illustrium, published 1569; plate 7 </cdwalite:labelRelatedWork>

</cdwalite:relatedWorkSet> <cdwalite:relatedWorkSet> <cdwalite:relatedWorkRelType> based on</cdwalite:relatedWorkRelType>

<cdwalite:labelRelatedWork> Lafréry, Antonio (French, 1512-1577); Speculum romanae magnificentiae; published 1545-1577 </cdwalite:labelRelatedWork>

</cdwalite:relatedWorkSet> </cdwalite:relatedWorksWrap> Dosso Dossi, from the Uffizi, Florence

CDWA LITE ELEMENTSRelationships between works

included: whole/part, others


Image © Janson, H.W., History of Art. 3rd edition. New York: Harry N. Abrams, Inc., 1986, plate 64 <cdwalite:resourceWrap>

<cdwalite:resourceSet> <cdwalite:resourceID>2344</cdwalite:resourceID>

<cdwalite:resourceType> black-and-white slide </cdwalite:resourceType>

<cdwalite:resourceRelationshipType> historical image </cdwalite:resourceRelationshipType>

<cdwalite:rightsResource> Janson, H.W., History of Art. 3rd edition. New York: Harry N. Abrams, Inc., 1986, plate 54</cdwalite:rightsResource>

<cdwalite:resourceViewDescription> frontal view, from below </cdwalite:resourceViewDescription>

<cdwalite:resourceViewDateearliestdate="1957" latestdate="1962"> before 1962</cdwalite:resourceViewDate>

</cdwalite:resourceSet></cdwalite:resourceWrap>• Some information about

the image (“resource”)©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.



Vase of Flowers. Jan van Huysum (Dutch, 1682-1749). 1722. Oil on panel, 31 1/4 x 24 inches (79.4 x 60.9 cm). J. Paul Getty Museum (Los Angeles, CA), 82.PB.70. © 2009 J. Paul Getty Trust. All rights reserved.

Single item record

Work TypeTitleCreatorCreation DateSubjectCurrent LocationMeasurementsMaterials


CCO/CDWA Relationships

Image from http://www.roma2000.it/schpiet.html & http://www.greatbuildings.com/ ; Dome Photo © 2004 Patricia Harpring. All rights reserved.


Components




Record Type [controlled]: group Class [controlled]: tools and implements Pre-Columbian art *Work Type [link]: arrowheads kirk points netting*Title: Group of Points from Bannerstone Site (20 MR 52)*Creator Display: unknown Archaic (Great Lakes)

* Role [link]: creators [link]: unknown Archaic Culture [link]: Archaic (Great Lakes, North American)

*Creation Date: Archaic period (7,500 to 2,400 before present) [controlled]: Start: -5500 End: -0400

*Subject [links]: objects (utilitarian) hunting warfare *Current Location [link]: University of Michigan, Museum of Anthropology (Ann

Arbor, Michigan, USA) ID: unavailableDiscovery Location [link]: Great Lakes region (USA)*Measurements: 56 items, lengths range 36 mm to 64 mm (1 3/8 to 2 1/2

inches)[controlled]: Extent: items Value: 56 Type: count | Qualifier: smallest

Value: 36 Unit: mm Type: length | Qualifier: largest Value: 64 Unit: mm Type: length

*Materials and Techniques: flint, vitric tuff, and rhyoliteMaterial [links]: flint tuff rhyolite

Description: 20MR51.02: Kirk point, vitric tuff, corner-notched stemmed, distal portion missing

Description Source [link]: Ahler, Stanley A. Knife River Flint Quarries: Excavations at Site 32DU508. Bismarck: State Historical Society of North Dakota, 1986.


Group-level record (e.g., special collections, archives)


Work RecordRecord Type [controlled]: group Class [controlled]: prints and drawings American art*Work Type [link]: design drawings models*Title: Pei’s Drawings and Models for the East Building, National

Gallery of Art*Creator Display: I. M. Pei & Partners (American, established

1955); chief architect: I. M. Pei (American, born in China in 1917)* Role [link]: architectural firm [link]: I. M. Pei & Partners * Role [link]: chief architect [link]: Pei, I. M. *Creation Date: 1968-1978 (inclusive dates)

[controlled]: Qualifier: inclusive Start: 1968 End: 1978*Subject [links]: East Building, National Gallery of Art

(Washington, DC, USA) *Current Location [link]: Archives, National Gallery of Art

(Washington, DC, USA) ID:unavailable*Measurements: 152 items; various dimensions

[controlled] Extent: items Value: 152 Type: count*Materials and Techniques: variousDescription: 152 design drawings and models for the East

Building project that I. M. Pei & Partners gave to the archives of the National Gallery of Art in 1986.Related Work:

Relationship Type [controlled]: depicts[link to Work Record]: Pei, I. M. (American, born 1917 in China); East Building, National Gallery of Art (Washington, DC, USA); completed in 1978

Images: Copyright © 2009 National Gallery of Art, Washington D.C. 1. I. M. Pei. Early conceptual sketch for building plan, National Gallery of Art East Building. Fall 1968. Crayon and graphite on tracing paper. 2. I. M. Pei & Partners. National Gallery of Art East Building Design Team. Working studies. ca. October 1968. Felt-tip pen on tracing paper. 3. I. M. Pei & Partners. National Gallery of Art East Building Design Team. Study, "Stepping down the geometry for light." Pen on tracing paper. 4. I. M. Pei & Partners. Scale model of East and West Buildings showing final design for Third Street facade, spring 1971.

Whole/part relationshipsHierarchical relationships between groups, sub-groups, and items

Drawings and other documents from the office of I.M. Pei for the East Building, National Gallery of Art

Early drawingsLater drawingsArchitectural models





Image:from Museum of Fine Arts, Boston. www.mfa.org

Traveling Tea ServiceTeapot Tea CaddyJapanese Imari Sugar Bowl and CoverChinese Famille- Verte Tea Bowl and SaucerSilver-mounted Scent FlaskTwo SpoonsWooden Box

Whole/Part Records for a set



Work RecordRecord Type [controlled]Record Type [controlled]:: series Class [controlled]: Class [controlled]: prints*Work Type [link to authority]: *Work Type [link to authority]: color woodcuts*Title *Title : : Thirty-six Views of Mount Fuji: First SeriesAlternate Title:Alternate Title: First Series: Mt. Fuji Views*Creator Display:*Creator Display: Katsushika Hokusai (Japanese, 1760–1849); Published by Eijudo Japan

**Role [controlled]: Role [controlled]: painter [link]: [link]: Hokusai, Katsushika Role:Role: [cont.] publisher [link]: Eijudo Japan

*Creation Date *Creation Date 1827-1837 [controlled]:[controlled]: Start:Start: 1827 End:End: 1837

*Subject*Subject [links][links] Mount Fuji ocean genre scenes meisho-e*Current Location [link to authority]:*Current Location [link to authority]: not applicableStyle: Style: EdoEdo*Measurements: *Measurements: 36 prints, average plate size: 24 x 37 cm

[cont.] Extent: items Value: 36 Unit: N/A Type: countQualifier: average dimensions Extent: plate mark Value: 24 Unit: cm

Type: height Value: 37 Unit: cm Type: width*Materials and Techniques: *Materials and Techniques: woodcuts, polychrome ink and color on paper

[link][link] ink color (pigment) paper woodcutsDescription:Description: Hokusai produced two series of Views of Mt. Fuji. This is the first series.

Work RecordRecord Type [controlled]: item Class [controlled]: prints and drawings Asian art *Work Type [link]: color woodcut*Title: Great Wave at KanagawaTitle: In the Hollow of a Wave off the Coast at Kanagawa Title Type: alternate*Creator Display: Katsushika Hokusai (Japanese, 1760-1849); published by

Nishimura Eijudo (Japanese, 19th century)* Role [link]: printmaker [link]: Hokusai, Katsushika* Role [link]: publisher [link]: Nishimura Eijudo*Creation Date: ca. 1831/1833 [controlled]: Start: 1828 End: 1836*Subject [links]: seascape wave fishermen boat Mount Fuji (Chubu,

Japan) Kanagawa (Kanto, Japan)Style [link]: EdoCulture [link]: Japanese*Current Location [link]: Metropolitan Museum of Art, New York, New York,

USA) ID:JP1847*Measurements: 25.7 x 37.9 cm (10 1/8 x 14 15/16 inches)

[controlled]: Value: 25.7 Unit: cm Type: height | Value: 37.9 Unit: cm Type: width *Materials and Techniques: woodcut, polychrome ink and color on paper

Material [links]: polychrome ink paper color (pigment) Technique [links]:woodcutDescription: The large wave dominates the scene, with the small mountain in

the background. It is said to have inspired said to have inspired both Debussy's "La Mer" and Rilke's "Der Berg."R l ti hi

Whole/Part Records for a series and a part






Image: Pendant Mask: Iyoba, 16th century; Edo, court of Benin; Nigeria; ivory, iron, copper; Michael C. Rockefeller Memorial Collection, Gift of Nelson A. Rockefeller, 1972; Metropolitan Museum of Art (New York, New York) (1978.412.323); Photo by The Photograph Studio, Metropolitan Museum of Art, copyright © 2004 The Metropolitan Museum of Art. All rights reserved; Ivory Mask,. British Museum, London. Image from http://www.thebritishmuseum.ac.uk/compass/

Related Records

pendant of, copy of, etc.


Between Work and Image Records

Photos © 2004 Patricia Harpring. All rights reserved.2009 ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.



19. Related Works<cdwalite:relatedWorksWrap> <cdwalite:relatedWorkSet> <cdwalite:linkRelatedWork linkscheme="0359"> http://www.getty.edu/research/conducting_research/finding_aids/jnbrown.html </cdwalite:linkRelatedWork>

<cdwalite:relatedWorkRelType> part of</cdwalite:relatedWorkRelType>

<cdwalite:labelRelatedWork> Jean Brown papers, 1815-1995 (bulk 1916-1985). Jean Brown (American 1911-1994). </cdwalite:labelRelatedWork>

<cdwalite:locRelatedWork locID ="CmalG" locIDtype="marcCodeListforOrganizations" relWorkID="890164">Special Collections, Getty Research Institute (Los Angeles, California, USA)</cdwalite:locRelatedWork>

</cdwalite:relatedWorkSet> </cdwalite:relatedWorksWrap> Image: Ay-o, Tactile Box, 1963



19. Related Works<cdwalite:relatedWorksWrap> <cdwalite:relatedWorkSet> <cdwalite:relatedWorkRelType> preparatory for</cdwalite:relatedWorkRelType>

<cdwalite:labelRelatedWork> Giovanni Battista de’ Cavalieri (Italian, ca. 1525-1601); Urbis Romae aedificiorum illustrium, published 1569; plate 7 </cdwalite:labelRelatedWork>

</cdwalite:relatedWorkSet> <cdwalite:relatedWorkSet> <cdwalite:relatedWorkRelType> based on</cdwalite:relatedWorkRelType>

<cdwalite:labelRelatedWork> Lafréry, Antonio (French, 1512-1577); Speculum romanae magnificentiae; published 1545-1577 </cdwalite:labelRelatedWork>

</cdwalite:relatedWorkSet> </cdwalite:relatedWorksWrap> Dosso Dossi, from the Uffizi, Florence





CDWA/CCO:CDWA/CCO: Work TypeWork Type


Examples of data

ClassificationClassification**:: Textiles

Object/Work TypeObject/Work Type**: : molaTitle or NamesTitle or Names**: : Kuni MolaCreationCreation--CreatorCreator**: : unknown KuniRoleRole**: : artistCreationCreation--DateDate**: : ca. 1922 Subject MatterSubject Matter**: : squirrels; trees; cagesCurrent LocationCurrent Location**: : National Museum of the American Indian (New York); 19/8402MeasurementsMeasurements**: : 52 x 69 cm Materials and TechniquesMaterials and Techniques**: : cotton appliquéDescriptive Note: Descriptive Note: One side depicts squirrels perched in trees, the other side shows squirrels in cages.

ima ge from

http ://ww

w.conex us.si.ed u/index 4.htm

Work type identifies what the work is

Examples of data

Data values: Controlled. Recommended AATTagging examples: <cdwalite:objectWorkTypeWrap><cdwalite:objectWorkType>mola</cdwalite:objectWorkType> </cdwalite:objectWorkTypeWrap>

<cdwalite:objectWorkTypeWrap><cdwalite:objectWorkType termsource="AAT">painting </cdwalite:objectWorkType>

<cdwalite:objectWorkTypetermsource="AAT">altarpiece</cdwalite:objectWorkType></cdwalite:objectWorkTypeWrap>

CDWA LITE ELEMENTS

Examples show tagsMimimum and fuller

Images: NMAI; Getty Museum, Cenni di Francesco di Ser Cenni



Class: prints and photographs*Work Type: gelatin silver print

*Title: Chez Mondrian*Creator Display: André Kertész (American, 1894-1985)

*Role: photographer

*Creation Date*: 1926

*Subject: interior view, staircase, door, light, flower, vase

*Current Location: J. Paul Getty Museum, Los Angeles ID: 86.XM.706.10

*Measurements: image: 10.9 x 7.9 cm (4 5/16 x 3 1/8 inches)

*Materials and Techniques: gelatin silver printDescription: Characteristic of his work as “Naturalist-Surrealist,” it combines prosaic observations of life

bi d ith li ti ti

Class: prints and photographs*Work Type: gelatin silver print

*Title: Chez Mondrian*Creator Display: André Kertész (American, 1894-1985)

*Role: photographer

*Creation Date*: 1926

*Subject: interior view, staircase, door, light, flower, vase

*Current Location: J. Paul Getty Museum, Los Angeles ID: 86.XM.706.10

*Measurements: image: 10.9 x 7.9 cm (4 5/16 x 3 1/8 inches)

*Materials and Techniques: gelatin silver printDescription: Characteristic of his work as “Naturalist-Surrealist,” it combines prosaic observations of life combined with surrealistic perspective

CDWA/CCO:CDWA/CCO: TitleTitle

Title discusses standard titles


Examples of data

Examples of dataClass: architecture*Work Type: memorial

*Title: Lincoln Memorial*Creator Display: architect Henry Bacon (American, 1866-1924) and sculptor Daniel Chester French (American, 1850-1931)

*Creation Date: designed 1911-1912; constructed 1914-1922

*Subject: commemoration honor Abraham Lincoln

*Location: Washington (DC, USA)

*Materials and Techniques: Exterior: Colorado Yule marble; Tripods: Pink Tennessee marble; Interior walls and columns: Indiana limestone; Ceiling: Alabama marble saturated with paraffin for translucency; Floor and wall base: Pink Tennessee marble; Pedestal and platform for statue: Tennessee marble; Statue: White Georgia marble

*Description: Design was influenced by the Greek Parthenon. Built into the design are symbols of Union like the 36 exterior Doric columns representing the 36 states in the Union at the time of Lincoln's death…

© 2009 J. Paul Getty Trust

Title discusses standard titlesAlso deals with names and other appellations for works that have no title per se

Image: ©Encyclopedia Britannica Online, accessed 1 March 2009. Image from Authenticated News.2009 ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.




Examples of dataWork RecordRecord Type [controlled]: item Class [controlled]: prints and

drawings American art*Work Type [link]: design drawing competition drawing*Title: Temple Design for the Lincoln Memorial

*Creator Display: architect: Henry Bacon (American, 1866-1924); draftsman: Jules Guéren (French, 19th-20th century)

* Role [link]: architect [link]: Bacon, Henry* Role [link]: draftsman [link]: Guéren, Jules

*Creation Date: 1912 [controlled]: Start: 1912 End: 1912*Subject [links]: architecture Lincoln Memorial (Washington,

DC, USA) elevation Culture [link]: American*Current Location [link]: National Archives and Record

Administration (Washington, DC, USA) ID:unavailable*Measurements: unavailable*Materials and Techniques: ink and watercolor on paper

Material [links]: ink watercolor paperRelated Work:

Relationship Type [controlled]: depicts[link to Work Record]: Lincoln Memorial (Washington, DC, USA);

Henry Bacon (American architect, 1866-1924) and Daniel Chester French (American sculptor, 1850-1931), 1915-1922





Work RecordClass*: tools and implements Pre-Columbian art Work Type*: bannerstone

Title *: BannerstoneCreator Display*: unknown Woodland IndianCreation Date*: Late Archaic Period Subject*: object (utilitarian) prestige hunting war

Current Location*: Gordon Hart Collection (Bluffton, Indiana)Measurements*: 9.7 x 5 cm (3 7/8 x 2 inches)Materials and Techniques*: banded slateDescription: Bannerstones formed part of an atlatl (spear-thrower). This one is carefully made and of decorative material and thus was probably a status symbol.



Image from Brose, D., et al. Ancient Art of the American Woodland Indians. New York: Harry N. Abrams, Inc., 1985


CDWA/CCO:CDWA/CCO: TitleTitleExamples of data



Examples of dataWork RecordRecord Type [controlled]: item Class [controlled]: prints and drawings European art

*Work Type [link]: poster lithograph*Title: Chat NoirTitle: Poster of a Black Cat, for the Reopening of the Chat Noir Cabaret Title Type: descriptive

*Creator Display: Théophile-Alexandre Steinlen (Swiss, 1859-1923)* Role [link]: printmaker [link]: Steinlen, Théophile-Alexandre*Creation Date: 1896 [controlled]: Start: 1896 End: 1896

*Subject [links]: advertising/commercial animal Chat Noir (cabaret) Rodolphe Salis (French performer, 1851-1897) shadow theater guignols domestic cat

Style [link]: fin-de-siecleCulture [link]: French *Current Location [link]: Santa Barbara Museum of Art (Santa Barbara, California, USA) ID:1991.17

Creation Location[link]:: Montmartre (Paris, France)*Measurements: 61.6 x 39.62 cm (24 1/4 x 15 5/8 inches)[controlled]: Value: 61.6 Unit: cm Type: height | Value: 39.62 Unit: cm

Type: width *Materials and Techniques: lithograph

Material [links]: paper Technique [links]: lithograph Inscriptions: along right side and bottom: Prochainement / la très illustreCompagnie du / Chat / Noir / avec / ses Pièces d'Ombres / Célèbres, sesPoëtes / ses Compositeurs / Avec / Rodolphe Salis / Steinlen


Multiple titlesFormer titles, descriptive titles, inscribed titles, translated titles



<cdwalite:titleWrap> <cdwalite:titleSet><cdwalite:title pref="preferred"lang=“French" type=“inscribed"> Chat Noir </cdwalite:title>

</cdwalite:titleSet> <cdwalite:titleSet><cdwalite:title pref="alternate"lang=“English" type="descriptive">Poster of a Black Cat, for the Reopening of the Chat Noir Cabaret</cdwalite:title>

</cdwalite:titleSet></cdwalite:titleWrap>

Class: paintings*Work Type: painting*Title: Irises*Creator Display: Vincent van Gogh (Dutch painter, 1853-1890)

Role: painterName [link to authority]: Gogh, Vincent van

*Creation Date:1889*Subject: irises regeneration soil nature *Current Location: J. Paul Getty Museum (Los Angeles, California, USA) ID: 90.PA.20 Creation Location : Saint-Rémy (Provence-Alpes-Côte d'Azur, France)*Measurements: 71 x 93 cm (28 x 36 5/8 inches)

Value: 71 Unit: cm Type: heightValue: 93 Unit: cm Type: width

*Materials and Techniques: oil on canvas, applied with brush and palette knife

Material: oil paintcanvas

Technique: palette knifebrush

Inscription: signed, lower right: VincentDescription: This work was painted when the artist was recuperating from a severe attack of mental illness, and it depicts the garden at the asylum at Saint-Rémy. It is influenced by the work of Gauguin and Hokusai and is

ClassClass: : paintings**Work TypeWork Type: : painting**TitleTitle: : Irises**Creator DisplayCreator Display: : Vincent van Gogh (Dutch painter, 1853-1890)

Role: Role: painterName [link to authority]: Name [link to authority]: Gogh, Vincent van

**Creation DateCreation Date::1889**SubjectSubject: : irises regeneration soil nature **Current LocationCurrent Location: : J. Paul Getty Museum (Los Angeles, California, USA) ID:ID: 90.PA.20 Creation Location : Creation Location : Saint-Rémy (Provence-Alpes-Côte d'Azur, France)

**Measurements: Measurements: 71 x 93 cm (28 x 36 5/8 inches)

ValueValue: 71 UnitUnit: cm TypeType: heightValueValue: 93 UnitUnit: cm TypeType: width

**Materials and Techniques: Materials and Techniques: oil on canvas, applied with brush and palette knife

MaterialMaterial: oil paintcanvas

Technique:Technique: palette knifebrush

Inscription: Inscription: signed, lower right: VincentDescription: Description: This work was painted when the artist was recuperating from a severe attack of mental illness, and it depicts the garden at the asylum at Saint-Rémy. It is influenced by the work of Gauguin and Hokusai and is



Display and Indexing

Authority controlled

CDWA/CCO:CDWA/CCO: Measurements / Materials and Measurements / Materials and Techniques / State and Edition / InscriptionsTechniques / State and Edition / Inscriptions



CDWA LITE ELEMENTS

7. Element: Display Materials/TechniquesElement tag: <cdwalite:displayMaterialsTech>Description: An indication of the substances or materials used in the creation of a work, as well as any implements, production or manufacturing techniques, processes, or methods incorporated in its fabrication, presented in a syntax suitable for display to the end-user and including any necessary indications of uncertainty, ambiguity, and nuance. For works on paper, descriptions of watermarks may also be included. (For marks applied to the work or support by the artist or subsequently by another person, see Inscriptions.)

Display and indexing guidelines in CCO and CDWA is carried through to CDWA Lite

8.1. Sub-element: Indexing Materials/ Techniques Set

Element tag: <cdwalite:indexingMaterialsTechSet>Description: Materials and techniques indexed with controlled terms for retrieval; if multiple parts of the work require separate materials and techniques, or if you are recording media and support separately, repeat this element with the type attribute and/or the extent sub-element

CDWA LITE ELEMENTS

7. <cdwalite:displayMaterialsTech>lacquered iron and leather, with silk, and copper-gilt; stenciled leather breastplate</cdwalite:displayMaterialsTech>

Display and indexing guidelines in CCO and CDWA are carried through to CDWA Lite

Image from www.metmuseum.org

8.1. <cdwalite:indexingMaterialsTechWrap><cdwalite:indexingMaterialsTechSet> <cdwalite:extentMaterialsTech>breastplate </cdwalite:extentMaterialsTech> <cdwalite:termMaterialsTechtermsource="AAT" termsourceID="aat300011845">leather </cdwalite:termMaterialsTech> <cdwalite:termMaterialsTechtermsource="AAT" termsourceID="aat300053433"> lacquering </cdwalite:termMaterialsTech>

</cdwalite:indexingMaterialsTechSet> <cdwalite:indexingMaterialsTechSet>



Image © The Saint Louis Art Museum 2009

Style may be included


CDWA/CCO:CDWA/CCO: Style / Style / CultureCulture

Classification*: Paintings and ScultpureObject/Work Type*: bronze (sculpture)Title or Names*: Unique Forms of Continuity in Space Creation-Creator/Role*: artist/sculptor: Boccioni, Umberto (1882-1916)Creation-Date*: 1913Subject Matter*: striding, walking, movement in art

Style: FuturistCurrent Location*: MoMA, New YorkMeasurements*: 43 1/2” (height)Materials and Techniques*: bronzeDescriptive Note: The Futurist movement’s ideals were dynamism, progress, and . . .

ClassificationClassification**: : Paintings and ScultpureObject/Work TypeObject/Work Type**: : bronze (sculpture)Title or NamesTitle or Names**: : Unique Forms of Continuity in Space CreationCreation--Creator/RoleCreator/Role**: : artist/sculptor: Boccioni, Umberto (1882-1916)CreationCreation--DateDate**: : 1913Subject MatterSubject Matter**: : striding, walking, movement in art

Style: Style: FuturistCurrent LocationCurrent Location**: : MoMA, New YorkMeasurementsMeasurements**: : 43 1/2” (height)Materials and TechniquesMaterials and Techniques**: : bronzeDescriptive Note: Descriptive Note: The Futurist movement’s ideals were dynamism, progress, and . . .

Image from

MoM

A W

eb site

<cdwalite:styleWrap><cdwalite:style termsource="AAT" termsourceID="aat300021374"> Futurist</cdwalite:style>

</cdwalite:styleWrap>

Class:Class: Asian art calligraphy painting **Work Type:Work Type: handscroll**Title:Title: Viewing the Waterfall at Longiu**Creator Display:*Creator Display:* primary painter and calligrapher was Dai Xi, with additional inscriptions and colophons added by other officials

**Creation Date: Creation Date: probably between 1847 and 1849 Start:Start: 1847 End:End: 1849

Style:Style: Wen ren**Subject: Subject: waterfalls landscape pine trees clouds pavilions,

poetry Longqiu/Lung-ch'iu (Dragon Pool) Yentang shan(Mount Yentang) mountains Mountain of Myriad Geese

**Current Location: Current Location: Department of Asian Arts, The Saint Louis Art Museum ( Saint Louis, Missouri, USA) IDID: 7:1985

Creation Location:Creation Location: Beijing (China) **Measurements:Measurements: 31.9 cm x 133.9 cm **Materials and Techniques:Materials and Techniques: ink on paper, in a brocade cover with calligraphies written on separate sheets

Inscriptions:Inscriptions: inscribed with the colophons and encomia of the artist and several other collaborators: Dai Xi, Luchuang Juren , Lun An, MengXin, Shun Qi, Shun Shi, Shun Si, Song Ping, Yu An, Jing Dong Juren, and Wen Jie

Description:Description: This is an example of the Wen re style, where the work, comprising painting, poetry, and calligraphy, was created by scholars and gentlemen, rather than professional painters or craftsmen. Dai Xi and the others involved with the creation were scholar-officials at the imperial court or its offices in the provinces...

Image © The Saint Louis Art Museum 2009

For an itemRange of datesUncertainty, “ca.”


CDWA/CCO:CDWA/CCO: DateDate

<cdwalite:displayCreationDate> probably between 1847 and 1849</cdwalite:displayCreationDate>

<cdwalite:indexingDatesWrap><cdwalite:indexingDatesSet> <cdwalite:earliestDate>1847</cdwalite:earliestDate> <cdwalite:latestDate> 1849</cdwalite:latestDate> </cdwalite:indexingDatesSet>

</cdwalite:indexingDatesWrap>



Work RecordRecord Type [controlled]: collection Class [controlled]: photographs European art *Work Type [link]: albumen prints *Title: Views of Paris and Environs and the Exposition Universelle*Creator Display: Neurdein Frères (French, active late 19th-early 20th centuries)

* Role [link]: photographers [link]: Neurdein Frères

*Creation Date: 1888-1894 (inclusive dates) [controlled]: Qualifier: inclusive Start: 1888 End: 1894

*Subject [links]: architecture views Paris (France) International Exposition of 1889 (Paris, France) Versailles Palace (Versailles, France) Parc de Saint-Cloud (Paris, France) Parc du Champ de Mars (Paris, France) travel *Current Location [link]: Getty Research Institute, Research Library, Special Collections (Los Angeles, California, USA) ID: 93-F101*Materials and Techniques: albumen prints

Technique [links]: albumen prints* Measurements: 37 photographic prints; images 13 x 19 cm (5 1/8 x 7 1/2 inches), on sheets 19 x 25 cm (7 1/2 x 9 7/8 inches)

[controlled] Extent items Value: 37 Type: count || Extent: image Value: 13 Unit: cm Type: height | Value: 19 Unit: cm Type: width || Extent: sheet Value: 19 Unit: cm Type: height | Value: 25 Unit: cm Type: widthInscriptions: captions in French, printed on mount above and below image.Description Note: Mounted souvenir views of Paris and environs issued by Neurdein Frères for visitors to the 1889 Exposition universelle. Collection includes panoramas of Paris and views of its main avenues and monuments as well as views of Versailles and the Parc de Saint-Cloud. These images were probably printed from existing ones in the Neurdein Frères inventory. Six views of the Exposition universelle include a panoramic view taken from the Trocadero, a view of the Parc du Champ de Mars, and an exterior view of the Algerian pavilion.

For a collection or groupBulk or inclusive dates


CDWA/CCO:CDWA/CCO: DateDate

<cdwalite:displayCreationDate> 1888-1894 (inclusive dates)</cdwalite:displayCreationDate>

<cdwalite:indexingDatesWrap><cdwalite:indexingDateSet> <cdwalite:dateQualifier>inclusive</cdwalite:dateQualifier> <cdwalite:earliestDate>1888</cdwalite:earliestDate> <cdwalite:latestDate>1894 </cdwalite:latestDate>

</cdwalite:indexingDatesSet></cdwalite:indexingDatesWrap>

Class: Sculpture*Work Type: hacha*Title: Hacha (Ceremonial Ax)

* Creator Display: unknown Veracruz* Creation Date: Late Classic Veracruz (600-900 CE)

* Current Location: Dumbarton Oaks (Washington DC, USA) ID: B38 VCSDiscovery Location: Veracruz (Mexico)Subject: religion/mythology human figure face game sacrifice ceremonial object Inca ballgame* Measurements: 35 x 22.2 cm (height) (13 3/4 x 8 3/4 inches)* Materials and Techniques: marble Descriptive Note: The hacha had ritualistic significance and likely served as an actual ballcourt marker.

ClassClass: : Sculpture**Work TypeWork Type: : hacha**TitleTitle: : Hacha (Ceremonial Ax)

** Creator DisplayCreator Display: : unknown Veracruz** Creation DateCreation Date: : Late Classic Veracruz (600-900 CE)

** Current LocationCurrent Location: : Dumbarton Oaks (Washington DC, USA) ID:ID: B38 VCSDiscovery LocationDiscovery Location: Veracruz (Mexico)Subject: Subject: religion/mythology human figure face game sacrifice ceremonial object Inca ballgame** Measurements: Measurements: 35 x 22.2 cm (height) (13 3/4 x 8 3/4 inches)** Materials and Techniques: Materials and Techniques: marble Descriptive Note:Descriptive Note: The hacha had ritualistic significance and likely served as an actual ballcourt marker.


CDWA/CCO:CDWA/CCO: Current Location / Creation Location / Discovery Location / Former Location

Location may be a repository, building, city, or nation

Unknown Veracruz. Hacha. Late Classic Veracruz. © Dumbarton Oaks, Washington DC 2009.


<cdwalite:locationWrap><cdwalite:locationSet><cdwalite:locationName type="currentRepository"> Dumbarton Oaks (Washington DC, USA) </cdwalite:locationName> <cdwalite:workID type="accession"> B38 VCS </cdwalite:workID>

</cdwalite:locationSet><cdwalite:locationSet><cdwalite:locationName type="discoveryLocation"> Veracruz (Mexico)</cdwalite:locationName>

</cdwalite:locationSet></cdwalite:locationWrap>



ClassClass Paintings * Work TypeWork Type painting * TitleTitle* Les Demoiselles d’Avignon* Creator DisplayCreator Display Pablo Picasso (Spanish, 1881-1973)

* Creation DateCreation Date 1907* Current LocationCurrent Location Museum of Modern Art (New York, New York, USA)

* SubjectSubject women nudes brothel prostitution fruit tribal art African

mask Avignon (Provence, France)Style:Style: Cubist* MeasurementsMeasurements 243.84 x 236.22 cm (8 feet x 7 feet 8 inches)

* Materials and Techniques Materials and Techniques oil on canvasDescriptionDescription In this epoch-making work, which prefigured Cubism, Picasso amalgamated the simplified iconic forms with Cézanne's reduction of the underlying structure of natural forms. The artist modeled several faces on African masks and iconic Iberian forms © 2009 J. Paul Getty TrustImage © Museum of Modern Art, 2009 Patricia Harpring, Getty Vocabulary Program

CDWA/CCO:CDWA/CCO: Subject<cdwalite:indexingSubjectWrap> <cdwalite:indexingSubjectSet> <cdwalite:subjectTerm>women</cdwalite:subjectTerm> <cdwalite:subjectTerm>fruit </cdwalite:subjectTerm> <cdwalite:subjectTerm>brothel </cdwalite:subjectTerm>

</cdwalite:indexingSubjectSet></cdwalite:indexingSubjectWrap>

<cdwalite:indexingSubjectWrap> <cdwalite:indexingSubjectSettype="description">

<cdwalite:subjectTerm type="conceptTerm"termsource="AAT" termsourceID="aat300025943">women</cdwalite:subjectTerm> <cdwalite:subjectTerm type="conceptTerm"termsource="AAT" termsourceID=“aat300189568"> nudes</cdwalite:subjectTerm> <cdwalite:subjectTerm type="conceptTerm"termsource="AAT" termsourceID=“aat300011868"> fruit</cdwalite:subjectTerm> <cdwalite:subjectTermtype="conceptTerm">African mask</cdwalite:subjectTerm >

</cdwalite:indexingSubjectSet> <cdwalite:indexingSubjectSettype="identification">

<cdwalite:subjectTermtype="conceptTerm">maidens</cdwalite:subje

Description, identification, interpretationWhat the work is “of” and “about”

ClassClass: Architecture * Work TypeWork Type: • temple • rotunda • church * TitleTitle: • Pantheon • Santa Maria ad Martyres* Creator DisplayCreator Display: unknown Roman, for the Emperor Hadrian * Creation DateCreation Date*: begun in 27 BCE, completely rebuilt 118/119 -

125/128 * SubjectSubject: • worship • planetary gods • Virgin Mary of the

Martyrs * Current LocationCurrent Location: Rome (Italy)* MeasurementsMeasurements: interior diameter and height of dome: 43 m;

oculus: 8.9 m in diameter * Materials and TechniquesMaterials and Techniques: constructed of stone, brick, and

aggregate material; the drum is strengthened by huge brick arches and piers set above one another inside the walls

Description:Description: The Pantheon was dedicated to the seven planetary gods in 128 CE. It was consecrated as a church in the early seventh century. It is the major surviving example of Roman concrete-vaulted architecture.

SourcesSources: • MacDonald, William L., The Pantheon, London:

Penguin Books, Ltd., 1976 • Torres, Carlo Antonio. Cenni sulla forma primitiva

del Pantheon fabbricato per ordine di Marco Agrippa, e sulla ristorazione da farsi al medesimo, di Carlo Antonio Torres. Imprint: Roma, Da' tipi di Giunchi e Menecanti, 1838

Photograph of the Pantheon; Getty Research Institute, Resource Collections (Los Angeles, California), Special Collections.



CDWA/CCO:CDWA/CCO: Descriptive Note

Brief descriptive note about the workSources may be listed

<cdwalite:descriptiveNoteWrap><cdwalite:descriptiveNoteSet><cdwalite:descriptiveNote> The Pantheon was dedicated to the seven planetary gods in 128 CE. It was consecrated as a church in the early seventh century. It is the major surviving example of Roman concrete-vaulted architecture.</cdwalite:descriptiveNote> <cdwalite:sourceDescriptiveNote> MacDonald, William L., The Pantheon, London: Penguin Books, Ltd., 1976</cdwalite:sourceDescriptiveNote></cdwalite:descriptiveNoteSet>

</cdwalite:descriptiveNoteWrap>



Work Record:Class: sculpture* Work Type: colossus* Title: • Great Sphinx • Abu al-Hawl* Creator Display: unknown Ancient Egyptian* Creation Date: Fourth Dynasty, reign of King Khafre

(ca. 2575-ca. 2465 BCE).* Work Subject: • sphinx • portrait • King Khafre • Pharaonic power* Current Location: Giza (Egypt)* Measurements: height: 20 m. (66 feet), length: 73 m.

(240 feet)* Materials and Techniques: limestone, carved from live

rockDescription: The Sphinx is a impressive embodiment of

kingship, placed to the south of the Great Pyramid at Giza. It is probably intended to represent King Khafre, although later generations believed that it was the Sun God ...

Note Source: Janson, H.W., History of Art. 3rd edition. New York: Harry N. Abrams, Inc., 1986 Page: 60 ff.

Work Record:Class:Class: sculpture* Work Type:Work Type: colossus* Title:Title: • Great Sphinx • Abu al-Hawl* Creator Display:Creator Display: unknown Ancient Egyptian* Creation Date:Creation Date: Fourth Dynasty, reign of King Khafre

(ca. 2575-ca. 2465 BCE).* Work Subject:Work Subject: • sphinx • portrait • King Khafre • Pharaonic power* Current Current Location:Location: Giza (Egypt)* Measurements:Measurements: height: 20 m. (66 feet), length: 73 m.

(240 feet)* Materials and TechniquesMaterials and Techniques:: limestone, carved from live

rockDescriptionDescription:: The Sphinx is a impressive embodiment of

kingship, placed to the south of the Great Pyramid at Giza. It is probably intended to represent King Khafre, although later generations believed that it was the Sun God ...

Note Source:Note Source: Janson, H.W., History of Art. 3rd edition. New York: Harry N. Abrams, Inc., 1986 Page:Page: 60 ff.

Image Record:Image Type:Image Type: slideImage Source:Image Source: Janson, H.W., History of Art. 3rd edition. New York: Harry N. Abrams, Inc., 1986, plate 64Image Format:Image Format: Cibachrome (TM)Image Measurements:Image Measurements: 35 mm, 2 x 2 inches

View Description:View Description: exterior view, facing NorthView Type:View Type: oblique view, partial viewView Subject:View Subject: the Great Sphinx with the Great Pyramid in the backgroundView Date:View Date: 1950

Image © Janson, H.W., History of Art. 3rd edition. New York: Harry N. Abrams, Inc., 1986, plate 64


<cdwalite:resourceWrap><cdwalite:resourceSet> <cdwalite:resourceID>2344</cdwalite:resourceID>

<cdwalite:resourceType> black-and-white slide </cdwalite:resourceType>

<cdwalite:resourceRelationshipType> historical image </cdwalite:resourceRelationshipType>

<cdwalite:rightsResource> Janson, H.W., History of Art. 3rd edition. New York: Harry N. Abrams, Inc., 1986, plate 54</cdwalite:rightsResource>

<cdwalite:resourceViewDescription> frontal view, from below </cdwalite:resourceViewDescription>

<cdwalite:resourceViewDateearliestdate="1957" latestdate="1962"> before 1962</cdwalite:resourceViewDate>

</cdwalite:resourceSet></cdwalite:resourceWrap>Discusses issues related

to the view of the work in the image

CDWA/CCO:CDWA/CCO: View Description / View Type / View Subject / View Date

Class: paintings*Work Type: watercolor*Title: Nous Quatre a Paris

*Creator Display: Palmer Hayden (American, 1890-1973)

Role: painterName [link to authority]: Hayden, Palmer

*Creation Date: 1935*Subject: portraits, African Americans, card playing, billiardsCurrent Location: Metropolitan Museum of Art, New York (New York); Joseph H. Hazen Foundation, Inc.*Measurements: 43.18 x 35.56 cm (17 x 14 inches)*Materials and Techniques: watercolor on paperStyle: Harlem Renaissance

ClassClass: : paintings**Work TypeWork Type: : watercolor**TitleTitle: : Nous Quatre a Paris

**Creator DisplayCreator Display: : Palmer Hayden (American, 1890-1973)

Role: Role: painterName [link to authority]: Name [link to authority]: Hayden, Palmer

**Creation DateCreation Date: : 1935**Subject: Subject: portraits, African Americans, card playing, billiardsCurrent LocationCurrent Location: : Metropolitan Museum of Art, New York (New York); Joseph H. Hazen Foundation, Inc.**Measurements: Measurements: 43.18 x 35.56 cm (17 x 14 inches)**Materials and Techniques: Materials and Techniques: watercolor on paperStyle: Style: Harlem Renaissance

CDWA/CCO:CDWA/CCO: Creator / Creator RoleCreator / Creator Role

Creator information includes the identification of the maker and his/her roles


Examples of data




< <cdwalite:displayCreator> Palmer Hayden (American, 1890-1973)

</cdwalite:displayCreator><cdwalite:indexingCreatorWrap>

<cdwalite:indexingCreatorSet><cdwalite:nameCreatorSet> <cdwalite:nameCreator type="personalName" termsource="ULAN"> Hayden, Palmer </cdwalite:nameCreator></cdwalite:nameCreatorSet>

<cdwalite:nationalityCreator>American </cdwalite:nationalityCreator><cdwalite:vitalDatesCreator birthdate="1890" deathdate="1973"> 1890-1973</cdwalite:vitalDatesCreator>

<cdwalite:roleCreator>painter </cdwalite:roleCreator>

</cdwalite:indexingCreatorSet></cdwalite:indexingCreatorWrap>

CDWA LITE ELEMENTS Creator information

Creator information includes the identification of the maker and his/her roles

Work RecordRecord Type [controlled]: item Class [controlled]: photographs American art *Work Type [link]: gelatin silver print *Title: Panoramic Photograph of the White House, Washington, DC

*Creator Display: Haines Photography Company (American, 19th-20th century)

* Role [link]: photographers [link]: Haines Photography Co.

*Creation Date: ca. 1909 [controlled]: Start: 1904 End: 1914*Subject [links]: architecture White House (Washington, DC, USA)

panoramic viewCulture [link]: American*Current Location [link]: Library of Congress (Washington, DC, USA)

ID: unavailable*Measurements: 15.85 x 55.88 cm (6 1/4 x 22 inches)[controlled]: Value: 15.85 Unit: cm Type: height Value: 55.88 Unit: cm Type: width

*Materials and Techniques: gelatin silver printTechnique [links]: gelatin silver printRelated Work:

Relationship Type [controlled]: depicts[link to Work Record]: White House (Washington, DC, USA); 1792-1817

Creator may be a firm or other corporate or administrative body


Examples of data CDWA/CCO:CDWA/CCO: Creator / Creator RoleCreator / Creator Role



Record Type: Record Type: groupClassClass: Architecture

* Work TypeWork Type: • architectural documents * TitleTitle: • Architectural drawings relating primarily to residences

and commercial and public buildings in Ottawa from the Office of Werner E. Noffke, Ottawa

* Creator DisplayCreator Display: Office of Werner E. Noffke, Ottawa

*Creator Display: Office of Werner E. Noffke (Ottawa)

* Role [link]: administrative origin [link]: Noffke, Werner E., Office of

* Creation DateCreation Date*: 1906-1962 (inclusive dates)* SubjectSubject: • office buildings • churches • exhibition halls •

residences * Current LocationCurrent Location: Cartographic and Audio-Visual Archives

Division; National Archives of Canada (Ottawa, Canada) ID:ID:Noffke, W.E. 77803/7

* MeasurementsMeasurements: various dimensions * Materials and TechniquesMaterials and Techniques: various materials Description:Description: This collection contains 2241 drawings representing some 200 projects by Ottawa architect Werner E. Noffke over a period of 60 years. Residences, offices, and commercial buildings, exhibition halls, and churches appear in the collection, along with projects for buildings for foreign legations. A great deal of Noffke’s work was done for the Government of Canada.

SourcesSources: • National Archives of Canada

Image: FDA Guide, provided by National Archives of Canada.2009 ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

CDWA/CCO:CDWA/CCO: Creator / Creator RoleCreator / Creator RoleOrigin of archival group

CDWA/CCO:CDWA/CCO: Creator / Creator RoleCreator / Creator RoleWork RecordRecord Type: Record Type: item Class: Class: architecture *Work Type*Work Type: church *Title:*Title: North Christian Church**Creator Display:Creator Display: designed by Eero Saarinen

(American, 1910-1961); posthumously, construction was supervised by firm of EeroSaarinen & Associates (American architectural firm, 1950-1961)

** Role [link]:Role [link]: architect [link]:[link]: Saarinen, Eero

** Role [link]:Role [link]: architectural firm [link]:[link]: Saarinen & Associates, Eero

** Role [link]:Role [link]: general contractor [link]:[link]: Repp and Mundt, Inc.

*Creation Date*Creation Date: designed 1961, completed 1964 *Subject: *Subject: architecture religion/mythology church Disciples of

Christ (Protestant Christianity) worship*Current Location [link to authority]*Current Location [link to authority]: Columbus (Indiana, USA)*Measurements*Measurements: spire rises 58.5 m (192 feet) *Materials and Technique*Materials and Technique: hexagonal plan, concrete base, leaded

copper spire, slate roof; welded steel buttresses support the roof and spire at the 6 axial corners

Description:Description: The architect was working on this building when he died unexpectedly. Building has a hexagonal plan elongated along the east-west axis; it i t b ildi ith th l l l t d i t ithi th

Discussion includes multiple creators and extent




Examples of data CDWA/CCO:CDWA/CCO: Creator / Creator RoleCreator / Creator RoleWork RecordRecord Type [controlled]: volume Class [controlled]: prints and drawings European art rare books*Work Type [link]: book etchings maps plans panoramas *Title: Theatrum civitatum nec non admirandorum Neapolis et Siciliae regnorumTitle: Views of the Cities and Sights of the Realm of Naples and Sicily Title

Type: descriptive*Creator Display: Joan Blaeu (Dutch, 1596-1673), with

Bastiaen Stopendaal (Dutch, 1637-before 1707) * Roles [link]: printmaker publisher [link]: Blaeu, Joan * Role [link]: printmaker [link]: Stopendaal, Bastiaen*Creation Date: 1663 [controlled]: Start: 1663 End: 1663*Subject: [links]: cityscapes landscapes Sicily (Italy) Naples (Campania, Italy) maps *Current Location [link]: Getty Research Library, Special Collections (Los Angeles,

California, USA) ID: 92-B27718 Publication Location [link]: Amsterdam (North Holland, Netherlands)*Measurements: 78 pages, 2 folded leaves

[controlled] Extent: pages Value: 78 Type: count *Materials and Techniques: hand-colored etchings, texts are printed

Material [links]: paper Technique [links]: etching printing hand coloringDescription: With the exception of 2 double folded leaves of plates, all etchings are on

pages backed with text. There are 8 half page, 1 single and 22 double page etchings, all colored.Description Source [link]: Getty Research Library, Special Collections database.

Discussion includes multiple creators and extent


Examples of data CDWA/CCO:CDWA/CCO: Creator / Creator RoleCreator / Creator RoleClass: sculpture*Work Type: statue*Title: Guanyin

*Creator Display: unknown Chinese*Role: sculptor*Name [link to authority]: unknown Chinese*Creation Date: 12th century *Subject: Guanyin royal ease compassionStyle: song Dynasty*Current Location*: Museum of Fine Arts (Boston, Massachusetts, USA) 20.590*Measurements: 141 x 88 x 88 cm (55 1/2 x 34 5/8 x 34 5/8 inches)*Materials and Techniques: lacquered wood with painting and gildingDescription: Guanyin is the Bodhisattva of Compassion, represented in the pose of “royal ease” and richly ornamented. A Bodhisattva is one who has attained enlightenment, but chooses to remain among humankind to help others achieve it ...

ClassClass:: sculpture**Work Type: Work Type: statue**TitleTitle: : Guanyin

**Creator DisplayCreator Display: : unknown Chinese**Role: Role: sculptor**Name [link to authority]: Name [link to authority]: unknown Chinese**Creation DateCreation Date: : 12th century **Subject:Subject: Guanyin royal ease compassionStyle:Style: song Dynasty**Current LocationCurrent Location*: *: Museum of Fine Arts (Boston, Massachusetts, USA) 20.590**Measurements: Measurements: 141 x 88 x 88 cm (55 1/2 x 34 5/8 x 34 5/8 inches)**Materials and Techniques: Materials and Techniques: lacquered wood with painting and gildingDescription: Description: Guanyin is the Bodhisattva of Compassion, represented in the pose of “royal ease” and richly ornamented. A Bodhisattva is one who has attained enlightenment, but chooses to remain among humankind to help others achieve it ...

© 2009 J. Paul Getty Trust Image ©MFA Boston, 2009; from http://www.mfa.org/artemis/fullrecord.asp?oid=28589&did=300#LocationPatricia Harpring, Getty Vocabulary Program

Discussion includes unknown creators

<cdwalite:indexingCreatorWrap> <cdwalite:indexingCreatorSet>

<cdwalite:nameCreatorSet> <cdwalite:nameCreator>unknown Chinese</cdwalite:nameCreator> </cdwalite:nameCreatorSet>

<cdwalite:roleCreator>artist </cdwalite:roleCreator>

</cdwalite:indexingCreatorSet></cdwalite:indexingCreatorWrap>



User is referred back to CDWA and CCOFree text display fields, syntax and other rules are recommended, but vocabulary not controlled




Data values: Formulated according to data content rules for the Description element in CCO and CDWA.




User is referred back to CDWA and CCOFree text display fields, syntax and other rules are recommended, but vocabulary not controlledFormat control

Data values for value: whole numbers or decimal fractions.



User is referred back to CDWA and CCOFree text display fields, syntax and other rules are recommended, but vocabulary not controlledFormat controlControlled lists for short lists of vocabulary




Data values: attributed to, studio of, workshop of, atelier of, office of, assistant of, associate of, pupil of, follower of, school of, circle of, style of, after, copyist of, manner of, used according to the recommendations in CCO and CDWA.


User is referred back to CDWA and CCOFree text display fieldsFormat controlControlled lists Authorities: Local authorities should be populated with terms/names from published vocabularies (e.g., AAT) as well as local terminology; authorities would include synonyms and hierarchical structure





CDWA LITE ELEMENTS

4.1. <cdwalite:indexingCreatorWrap> <cdwalite:indexingCreatorSet>

<cdwalite:nameCreatorSet> <cdwalite:nameCreatortype="personalName" termsource="ULAN" termsourceID=" ulan500007371">Tacca, Pietro</cdwalite:nameCreator> </cdwalite:nameCreatorSet><cdwalite:sourceNameCreator> Grove Dictionary of Art

(1996) </cdwalite:sourceNameCreator><cdwalite:nationalityCreator>Italian</cdwalite:nationalityCreator><cdwalite:vitalDatesCreator birthdate="1577-09-06" deathdate="1640-10-26"> 1577-1640 </cdwalite:vitalDatesCreator> <cdwalite:genderCreator> male </cdwalite:genderCreator> <cdwalite:roleCreatortermsource="AAT" termsourceID="aat300025257">caster </cdwalite:roleCreator>

d li ib i lifi ib dImage from collections.frick.org

Some biographical data for the artist is includedMay be stored in an authority

(Person/Corporate Body Authority)

<cdwalite:locationWrap><cdwalite:locationSet><cdwalite:locationNametype="currentRepository"> Egyptian Museum (Cairo, Egypt)

</cdwalite:locationName><cdwalite:workIDtype="accession">1931-76-1 </cdwalite:workID>

</cdwalite:locationSet><cdwalite:locationSet><cdwalite:locationNametype="creationLocation" termsource="TGN"termsourceID="tgn7001758"> Karnak (Qinagovernorate, Egypt)

</cdwalite:locationName> </cdwalite:locationSet></cdwalite:locationWrap>

CDWA LITE ELEMENTSSource, ID for term in a published vocabularyMay be stored in an authority (Place/Location Authority)



<cdwalite:objectWorkTypeWrap><cdwalite:objectWorkTypetermsource="AAT" termsourceID="aat300127141">cartes-de-visite </cdwalite:objectWorkType>

<cdwalite:objectWorkTypetermsource="AAT" termsourceID="aat300265164">boudoir photographs </cdwalite:objectWorkType>

</cdwalite:objectWorkTypeWrap>

CDWA LITE ELEMENTSSource, ID for term in a published vocabularyMay be stored in an authority (Generic Concept Authority)

<cdwalite:indexingSubjectWrap> <cdwalite:indexingSubjectSet> <cdwalite:subjectTerm> religion/mythology </cdwalite:subjectTerm>

<cdwalite:subjectTerm type=" iconography"termsource=" iconclass" termsourceID="73B57">Adoration of the Magi </cdwalite:subjectTerm>

</cdwalite:indexingSubjectSet></cdwalite:indexingSubjectWrap>

CDWA LITE ELEMENTSSource, ID for term in a published vocabularyMay be stored in an authority (Subject Authority, iconographic subjects, themes from literature, events, mythical or religious characters)



The Collections at Getty (harvestable sets)


The Data “at home”

• J. Paul Getty Museum PaintingsCollection (461 records and 461 digital still images)

• Data lives in a collection management system (relational database)


• Tapestries - Photo Study Collection of the Research Library, Getty Research Institute (4215 records and 9063 digital still images)

• Data lives in a flat-file system with linking capabilities



Deciding what information to contribute


Descriptive Metadata for Getty Museum’s Paintings Collection

*Object/Work Type

*Title

*Display Creator

•Indexing Creator Set

•Name of Creator

•Nationality

•Role

•Attribution Qualifier

*Display Creation Date

*Indexing Dates

•Earliest Date

•Latest Date

Display Measurements

Display Materials/Techniques

Style

Culture

Subject Indexing Term

*Location/Repository

•Repository Work Identification Number





•How well does that map to CDWA Lite?


• Data successfully displayed in ARTstor

• Link back to Getty Museum site




• Link back to Getty Museum site

• There find richer data

• Links to artist biography and other works


• Links to lesson plans and publications




• Links to exhibitions


• Harvested Photo Study Collection record in ARTstor

• Includes more data than museum




• Link from ARTstor back to Photo Study Collection record on the Getty Web site

•Even more data at home site, including shelf location


Digital Images and Collection Management

Systems



TMS-TEAMS Integration

• Museums are publishing their images in many new ways

• How do museums and other work repositories link image records to work records?

• Records for image and work often in two different systems, e.g., TMS (museum collection management system) and TEAMS (Web-based digital assets system)


TMS-TEAMS Integration

• Getty Museum already has integration in place with TMS

• Getty Research Institute (special collections houses works) is investigating how integrate with Voyager ILS (perhaps linking collection-level data to TEAMS)




• Using DAM system to generate images and metadata (perhaps with some post export massaging) for any given purpose, e.g.:

Thumbnails for Collection Management SystemJPEG files for public Web access to our collections, for instance though some digital library application such as DigiToolOAI Harvesting


Record for GRI collection item (album) in TMS.

TEAMS has 7 records related to this album for selected plates.

Upon integration, the data from TMS will be linkedto all 7 records in TEAMS.

Getty Research Institute Using TEAMS-TMS




Link to TMS via Object ID field

Nightly refresh process (TMS >TEAMS) will copy updates to selected fields such as title, maker, and creation date.


TEAMS will be fed by TMSdata based on Object Numberentered.When linked, field labels will indicate that data is coming from TMS. Data in TEAMS will not be editable.




Getty Museum Using TEAMS-TMS


Getty Museum uses a DAM called TEAMSOriginally we imported images and performed manual data entryIn March 2009 implemented data integration project, designed to wed the Museum's digital image processing workflow to a new TMS data mapping process to map object metadata from our existing collections information system (TMS)Existing TMS object images were imported en masse into TEAMS (around 17,000 images) along with a corresponding media record for eachThis is a one-way push of object metadataTMS remains our primary source for detailed information about the objects and rights/reproductions information, so information flows from TMS to TEAMS only





• TMS data included in TEAMS:Object tombstoneExhibition historyKeywordsBasic media informationRights/Copyright information

TMS data is held in its own "asset model" – a profile of fields defined specifically for this integrationThis merging of TMS data in TEAMS allows us to link lots of rich information to each object-related media record for more robust searching in TEAMS without duplicating data entryRights/Copyright information is not only included for reference in TEAMS, it is also tied into the system's security to restrict access within TEAMS




For example, objects with a CHECK COPYRIGHT RESTRICTIONS flag from TMS appear in TEAMS views with the word Restricted in red.Depending on a user's security profile, this setting may preventthat user from downloading an image

TEAMS rights

TEAMS restricted info


The Integration mechanicsNewly

processed

images

e

Newly processed images enter a staging area in TEAMSObject-related images follow specific set of file-naming conventions, all of which are based on a unique numeric identifier assigned in object records (OBJECTID)A subset of TMS information is refreshed in TEAMS via a nightly, automated publish process.TEAMS image records link to the TMS data snapshot via OBJECTIDCurrent integration is limited to Object-related image media, but in future we'd like to include other types of media (audio? video?)





processed

images

e

Our current image processing workflow automatically generates different images according to need. For any given object image, several derivatives may be generated:

original high-resolution TIFF for TEAMS40Mb FPX image for interactive gallery kiosks (to handle zoom)low-res JPG for TMSlow-res JPG for getty.edu

Image files automatically transferred to appropriate image servers; process also generates basic image metadata (file size, date, pixel height/width, etc.).



processed

images

e

Outstanding Issues

Beginning to look at ways to reach into TEAMS directly from TMS or other outside applications, but nothing to report yet.

Shared look-up tables – TMS and TEAMS use their own sets of lookup tables for controlling vocabularyLookup tables in TEAMS may be shared across "asset models." If we modify a lookup term in TMS, making the change downstream can be complicated. If a term is shared by the TMS model, as well as the X, Y, and Z models, you either need to achieve consensus or create new lookup terms




Patricia HarpringPatricia HarpringManaging EditorManaging EditorGetty Vocabulary ProgramGetty Vocabulary Program

1200 Getty Center Drive1200 Getty Center DriveLos Angeles, CA 90049Los Angeles, CA 90049

[email protected]@getty.edu


Museum Data: CCO and Big CDWA - The Getty & CDWA provide guidance for consistency regarding...

Documents

Transcript of Museum Data: CCO and Big CDWA - The Getty & CDWA provide guidance for consistency regarding...